g the capital, and among the low hills surrounding
Potsdam before it actually began to rain.

They wished immediately to see Sans Souci for the great Frederick's sake,
and they drove through a lively shower to the palace, where they waited
with a horde of twenty-five other tourists in a gusty colonnade before
they were led through Voltaire's room and Frederick's death chamber.

The French philosopher comes before the Prussian prince at Sans Souci
even in the palatial villa which expresses the wilful caprice of the
great Frederick as few edifices have embodied the whims or tastes of
their owners. The whole affair is eighteenth-century French, as the
Germans conceived it. The gardened terrace from which the low, one-story
building, thickly crusted with baroque sculptures, looks down into a
many-colored parterre, was luxuriantly French, and sentimentally French
the colonnaded front opening to a perspective of artificial ruins, with
broken pillars lifting a conscious fragment of architrave against the
sky. Within, all again was French in the design, the decoration and the
furnishing. At that time there, was in fact no other taste, and
Frederick, who despised and disused his native tongue, was resolved upon
French taste even in his intimate companionship. The droll story of his
coquetry with the terrible free spirit which he got from France to be his
guest is vividly reanimated at Sans Souci, where one breathes the very
air in which the strangely assorted companions lived, and in which they
parted so soon to pursue each other with brutal annoyance on one side,
and with merciless mockery on the other. Voltaire was long ago revenged
upon his host for all the indignities he suffered from him in their
comedy; he left deeply graven upon Frederick's fame the trace of those
lacerating talons which he could strike to the quick; and it is the
singular effect of this scene of their brief friendship that one feels
there the pre-eminence of the wit in whatever was most important to
mankind.

The rain had lifted a little and the sun shone out on the bloom of the
lovely parterre where the Marches profited by a smiling moment to wander
among the statues and the roses heavy with the shower. Then they walked
back to their carriage and drove to the New Palace, which expresses in
differing architectural terms the same subjection to an alien ideal of
beauty. It is thronged without by delightfully preposterous rococco
statues, and within it is